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This paper describesWells, a prototype information appliance that supports communication, information exchange and information management between coworkers. The appliance is particularly targeted on the requirements of the relationship between managers and their assistants. Wells aims to integrate and coordinate a range of information devices such as phones, faxes, and email and incorporate it with diary-based information. In more general terms, Wells provides an opportunity to explore the issues of 'personal information management' and the design of interfaces to appliances to support these activities [1].

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This article concentrates on one form of creative practice, improvisation, considering how it has been used as an experimental method within filmmaking as well as in research enquiry. Drawing on my professional experience in the field of narrative fiction filmmaking, as well as interviews with film professionals, I show how a close examination of improvising processes opens up illuminating points of comparison with research methodologies across the academy. This article is an interdisciplinary review, drawing together ideas about improvisation beyond film, looking broadly across the creative arts and most pointedly, drawing an unexpected link between practice research in film and the traditions of laboratory research methodologies within Social Psychology. KEYWORDS Improvisation; research methodology; practice research; The Stanford Prison Experiment; Performance-Centred Mode. Improvisation in creative practice is analogous to the processes of knowledge production in academic research. By definition, improvisation involves the discovery of creative outcomes; traditions that have used it extensively, such as theatre and music, engage in this experimental process with the intention of generating a performance that may either have immediate significance to a present audience, or as a studio practice designed to accumulate ideas in the devising of a future performance. For the performer, improvisation is a process of exploration. The creative goal of the exercise may be quite loosely defined, but the revelations achieved through improvisation are intended to have artistic impact. The obvious similarities with the process of academic research have stimulated a field of studies 1 and detailed scholarly attention, primarily in musicology and performance. In this article, I will present an overview of how improvisation is studied in a range of fields, before looking in detail at how certain filmmakers have deployed it as a creative practice. The final section presents surprising similarities between the improvisation

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This article develops from the findings of an interdisciplinary research project that has linked film practice research with computer science and law, in an exercise that seeks to digitally resurrect Margaret Thatcher to play herself in a contemporary film drama. The article highlights the imminent spread of machine learning techniques for digital face replacement across fiction content production, with central research questions concerning the ethical and legal issues that arise from the appropriation of the facial image of a deceased person for use in drama.

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